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Towarzysz Te Wei

100%
Bobrowska O.
Media – Kultura – Komunikacja Społeczna
|
2014
|
issue 10/2
105-123
EN
The article discusses a subject that has not been examined in Polish Film Studies yet, namely the specifics of the classic animated film from the People’s Republic of China (1957–1989) through the prism of the life and work of Te Wei, a doyen of Chinese animation. The author aims to define a category of the “Shanghai School of Animation” and to coin the term “minzu style” which refers both to aesthetics and the ideological assumptions of Chinese animation art. As early as in the 1930s Te Wei was engaged in propaganda activities on behalf of the Communist Party of China realizing patriotic manhua. In 1949, he led the animation department at Changchun Film Studio and from 1957 he was the head of the Shanghai Animation Film Studio (SAFS). In 1957, Te Wei called animators to undertake the challenge of constructing a specifically Chinese style of animation and to use Western medium (cinematograph) in order to transmit Chinese “essence” through new techniques (e.g. ink-wash animation) and references to traditional symbolics (among others, Peking Opera). In this way, animated film production was adapted to the paradigm of Maoist propaganda that glorified Chinese cultural supremacy. For Chinese authors, veiled philosophical reflection of the relations between man and nature became the only available way of smuggling “artistic contraband” under totalitarian censorship, the possibility of expression that was fully exploited in the last film of the Chinese master (Feelings from Mountains and Water, 1988), completed in a period of modernization.
2

Chińska esencja, zachodni trik. Malarstwo tuszu i wody w filmie animowanym

100%
Bobrowska O.
Kwartalnik Filmowy
|
2017
|
issue 99 Triki, numery specjalne, atrakcje
161-170
PL
Artykuł jest próbą zrekonstruowania koncepcji ideologicznych oraz metod artystycznych, jakie postulowali oraz praktykowali twórcy chińskich filmów animowanych inspirowanych tradycyjnym malarstwem, stanowiących realizację odgórnie narzuconego wyzwania o charakterze ideologicznym. Analizie zostaje poddany proces realizacji filmów wykonanych w malarskiej technice tuszu i wody. Autorka odwołuje się do czterech filmów, które powstały w Szanghaju w latach 1960-1988 i zajmują ważną pozycję w utrwalonym kanonie. Rozwój historyczny chińskiej animacji zostaje ujęty w ramach koncepcji zasadniczych dla współczesnej myśli estetycznej oraz praktyki artystycznej: zhongti, xiyong (chińska substancja, zachodni środek), minzu (sztuka narodowa) oraz meishu (sztuki piękne).
EN
This article attempts to reconstruct the ideological concepts and artistic methods postulated and practiced by makers of Chinese animated films inspired by traditional painting, which are the implementation of a top-down ideological challenge. The process of making films made in the ink and water technique is analysed. The author refers to four films that were made in Shanghai between 1960 and 1988 and occupy an important position in the established canon. The historical development of Chinese animation is considered in the context of ideas central to contemporary aesthetics and artistic practice: zhongti, xiyong (Chinese substance, Western means), minzu (national art) and meishu (fine art).
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